“In Ableton you can just have the samples all running, and you can have them all running at the same speed, you can change the pitch of them. But to be honest, to me that’s lost a lot of the appeal and the excitement of the record-making process. Which is one of the reasons why as a producer I’ve become increasingly less prolific because I just don’t get excited about pushing a mouse about and looking at Ableton and thinking, ‘You can do anything, you’ve got everything right there in front of you.’

“When I was limited to the record collection and samples that I had, and the three synthesizers that I had that I knew inside out, that directed a certain course of where I could go with it. And it would be exciting to be bending the rules. But now everything’s laid on a plate for you and there’s too much choice. Before it was like, ‘What can I get out of a 909? What can I get out of a 303?’ Now it’s like you’ve got every single synth under the sun you can call up. I kind of don’t know where to start.”